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TCHAIKOVSKY, Arthur Rubinstein, Erich Leinsdorf, Boston Symphony Orchestra
Piano Concerto No. 1
KWINTESENCJA BRZMIENIA ANALOGOWEGO
MOZART, Jean-Francois Paillard, Jean-Francois Paillard Chamber Orchestra
Serenade No. 7 'Haffner'
KWINTESENCJA BRZMIENIA ANALOGOWEGO
BRAHMS, Arthur Rubinstein
Piano Sonata No.3 in F Minor, Op.5 / Intermezzo in E, Op.116, No.6 / Romance in F, Op.118, No.5
KWINTESENCJA BRZMIENIA ANALOGOWEGO
Audiophile Classic - Extended HD2
KODALY, ALBENIZ, Minneapolis Symphony Orchestra, Antal Dorati
Hary Janos Suite, / Iberia
Extended High Definition Mastering 2
DVORAK, Columbia Symphony Orchestra, Bruno Walter
Symphony No. 9 From the New World
Extended High Definition Mastering 2
Miles Davis, Julian 'Cannonball' Adderley, Paul Chambers, Jimmy Cobb, John Coltrane, Bill Evans, Wynton Kelly
Kinf Of Blue
Extended High Definition Mastering 2
GOUNOD, Vienna State Opera Orchestra, Armando Aliberti
Faust / Vienna Waltzes
Extended High Definition Mastering 2
RIMSKY-KORSAKOV, L'Orchestre de la Suisse Romande, Ernest Ansermet
Scheherazade
Extended High Definition Mastering 2
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Osobowości
TCHAIKOVSKY, Evgeny Mravinsky, Leningrad Philharmonic Orchestra
Synfonies 4-6
Nagranie EKSTREMALNIE audiofilskie
BRUCKNER, Wolfgang Sawallisch, Bayerisches Staatsorchester
Symphonie Nr. 9
79.00 PLN
LP-160G:
Nr kat.: S160851Label : Orfeo
Sawallisch's Bruckner No. 9, recorded in the Great Hall of Munich University in December 1984, may not have the searing intensity or sheer loftiness of spirit of the best on record?those of Karajan (DG), Wand (EMI), or Walter (CBS)?but it is an agreeably straightforward reading, disinclined to dawdle in the first movement (on record, only the deleted Horenstein was notably brisker) though more relaxed in the second, with the third taken at a generally unexceptionable pace. The Bavarian State Orchestra have all the right Bruckner attributes, though the Orfeo recording, even on CD, is rather under-powered. It needs to be played at quite a high level if the slightest recessed orchestral image is to be successfully placed. The editing is not always scrupulous with the barest hint of a join four bars after fig. L of the Adagio much less obviously worrying than the faded up edit at fig. F of the first movement. In a symphony where the exposition needs to build seamlessly over a 225 bar span, even the slightest flaws can upset the concentration in a performance that is giving the music no special airs but rather letting it speak for itself.' https://www.gramophone.co.uk/review/bruckner-symphony-no-9-18